Taylor Gaines is joined by Sam Hensel for the second episode of the official Denis Villeneuve podcast. On this episode, they try to decipher a film that they did not understand, because it was entirely in French. This one was a challenge. “Maelstrom” tells the story of a depressed, alcoholic woman whose life nearly unravels after having an abortion.
For each movie in the “Denis 2049” series, Taylor and Sam will sit down and bounce some thoughts off each other, off-mic. Their brilliant minds will unleash many words. Make of them what you will. First up: “August 32nd On Earth.”
Taylor: As we embark upon our journey through the many worlds of Denis Villeneuve, full of aliens and drug wars and kidnappings and many other large, scary things, I want to take the time to appreciate the simple humanity of his first feature film, “August 32nd on Earth.” It’s a small, straightforward and heartwarming movie. It makes me want to roll around in my bed going, “BOOP… BOOP… BOOP…”
Speaking of rolling around in bed, this is a movie about a woman who – after a close brush with death – tries to enlist her friend to help her conceive a child in the middle of the desert. I’ve never seen a premise quite like this before. Does this happen often? Have any of your friends ever approached you asking to help them conceive a child in the desert? Would you do this for any of your friends?
Sam: The short answer is yes, of course I would take my friend to the desert to impregnate her. But only if we were married. And only if she made a convincing argument that babies conceived in an arid climate are more physically inclined to survive a nuclear war that leaves the entire world in a perpetual, Mad Max post-apocalyptic Earth desert. Because that would be the place to do it. Google tells me those salt flats are so barren that life does not exist there and that the military uses it for “test areas” and bombing ranges. If my kids were conceived in a place like that, they could survive anything.
Here’s the thing, Taylor, this was a pretty well-made movie. It was about a woman trying to get pregnant (or something), but it looked a lot like Denis flexing. There were signs even then of how good he is. The cuts were airtight — clean and quick to an almost Edgar Wright level — in a movie that seemed like it should go a tenth the speed. His shots slowly went from grand in scope (the desert) to constricting and claustrophobic (the spaceship room), visually forcing these two friends uncomfortably closer together as the plot did the same.
It was really well-crafted, but the writing is what intrigues me the most, not just because he forgot to write it in English, but because it raises some poignant questions.
If I go to Canada, is there a real chance I’ll get run down by the Montreal chapter of the Tokyo Drifters? Did Simone just leave her car on the side of the road in the beginning of the movie? Is it still there? Is her peeing in the desert and seeing the charred remains of a runaway convict a top ten “Holy crap that’s a dead body” moment in movies?
Taylor: I don’t have nearly enough reference points to rank where the dead body moment would fall on the dead body rankings, but I can unequivocally say that is the only time I have ever seen someone find a dead body while squat-peeing in the middle of the desert. Well, in the movies, at least.
As to her car, everyone knows that if no one comes to the scene of an accident for three days, the car itself descends into hell.
What I’m interested in is the aforementioned Tokyo Drifters that seem to have taken up residence in Montreal. I can talk forever about this scene. What were they doing exactly? Where was everyone else who lives in Montreal? Why did Phillipe walk into the middle of the road to smell (?) their tire tracks? Why did they come back? Most importantly, why did they beat the s*** out of him?
My theory: The Drifters were put to the task by Simone. She finally realized that she had led on Phillipe too much, but she didn’t have a change of heart. So, knowing things had gone too far, she realized something had to be done. She had to remove him from the friend zone, and coincidentally, the earth zone. So she hired some hooligans that she met at the hospital after her car accident (cut scene where they had great banter and exchanged numbers for later) and waited for Phillipe to call. After he called (Phillipe always called from the same payphone), she told them where to go. “This whole plan depends on him sniffing the tire tracks,” she tells them. “He can’t resist. He might even lick them. That’s how you’ll be able to get a hold of him. Then take him out, and get back to Tokyo. Kill him.” Of course, when he didn’t die, she went to the hospital to smother him. That happens right after the film cuts to black.
Sam: Taylor, if I may, I’d like to tackle the task you so stupidly recused yourself from. Nothing would bring me greater joy than to provide the best “Holy crap that’s a dead body” scenes in movies for you. (I cut it to five for the sake of this not being five million words long.)
*The following list contains spoilers for Samuel L. Jackson’s fate in “Jurassic Park.”
1) “Jurassic Park” – So Laura Dern is pinned in a cage, being attacked by velociraptors, when she backs into a wall, where Samuel L. Jackson’s comforting arm rests on her shoulder as if to say “Don’t worry, I got you, everything’s ok.” And she’s startled at first but realizes it’s her friend. Wait a sec —
This is easily the best “Holy crap that’s a dead body” moment in movie history because it takes Laura an absurd amount of time (roughly 12 seconds) to realize that the arm of her friend is not attached to her friend. Also, it’s the only instance on this list of finding a dead body while the killers (velociraptors) are watching you and admiring their handy work. Handy work.
2) Con Air – A guy just got his car washed and is driving in traffic when this happens. It’s the ultimate way to come across a dead body. And most expensive.
3) “Goonies” – “I smell ice cream!” Chunk does not get enough credit for being able to smell ice cream from outside a closed freezer.
4) “Dumb and Dumber” – “Our pets’ heads are falling off!”
Finding a dead body still counts even if it died from natural causes.
5) The Scary Episode of “Boy Meets World” – “We’ll always remember he was that tall.” There’s an episode where Shaun has this dream that there’s a killer at the school murdering all his friends. This to me is the scariest of the body finds because six-year-old Sam did not understand that this episode was supposed to be funny.
As to your analysis of the Montreal Drift Gang (MDG), it is very important, and it gets me super excited. I did not realize that this movie was really only the beginning. That scene and subsequent coma is the “It’s not what you did son, it’s who you did it to,” of foreign romance dramas. If “Atomic Blonde” is Jane Wick, then this French-Canadian bloodbath is Jean Wic.
The next chapter will be a $100 million budget sequel, “August 33: Awakening,” a revenge-action movie where Phillipe wakes up from his coma after surviving Simone’s attempted smothering. But here’s the thing about Simone: she’s dead. The MDG pushed her off a Montreal skyscraper when the check for the murder she ordered bounced. MDG wants their due, so they come to Phillipe to collect. Should be an easy job, but they get cocky and kill his dog in front of him. Now, not only is Simone dead and their unborn, un-conceived, child (she didn’t have time to get pregnant, did she?). So is his dog. Should’ve killed Phillipe when they had the chance, because he’s about to battle his way to the top of the street gang — one drift race, one shot to the groin, one kick to the throat at a time — and he’s looking for blood. They have no idea what Phillipe can do, they think he’s just a coma nobody. They forgot one thing. That F****n nobody is Jean Wic.
The problem, Taylor, is that this movie came out 20 years ago. Who plays Phillipe in the sequel? Who plays the leader of the Montreal Drifters Gang? Steve Buscemi? Who plays the corpse of Simone as she flies off the top of a building?
Taylor: These are questions I think we should leave to the one … and only … Noah Hawley, when he signs on to direct this movie in 2021. Villeneuve will be on such a hot streak from “Arrival” and “Blade Runner 2049” and “Dune” and “Departure” (a sequel to “Arrival” where Amy Adams teaches heptapods how to reproduce with humans through a series of complicated underwater lessons) and his remake of “2001: A Space Odyssey,” “2049: A Space Odyssey” (which everyone agrees is far better and more innovative than the original) that literally ever piece of his history becomes super-hot IP that studios want a piece of. Hawley, the casting master, will release the sequel to this movie in ten parts, shown at a different theater each night over the course of 20 nights, and people will rave about his innovation and creativity.
Am I getting too far ahead of myself? We still have like eight movies to go.
Sam: You are getting too far ahead of yourself. I’m tired of talking about “August 32nd.” Let’s move on.
Taylor is joined by Sam Hensel for the first episode of the official Denis Villeneuve podcast. On this episode, they break down Villeneuve’s first feature film, “August 32nd On Earth,” and figure out what it means going forward. Their viewing experiences had one crucially important difference.
On Tuesday, Taylor and Sam argued over which movie director should be the subject of their upcoming podcast series. In the series, they will examine each movie in the filmography of a prominent director. When the dust settled, two men remained: Guillermo del Toro and Denis Villeneuve. Next Tuesday, we’ll be holding a live Twitter vote to determine the winner and subject of the series. Today, we are publishing Taylor’s and Sam’s arguments for why you should vote for their chosen director. First up: Taylor on Villeneuve. (Update: Sam’s is here.)
The argument for Denis Villeneuve is two minutes and 22 seconds long.
Sure, I could spend my time telling you why watching the movies of a man who decided to make two “Hellboy” movies is a bad idea. Or I could tell you why we’d be wasting our time with a filmmaker who saw “Pinocchio” and thought, “You know what? That story should be darker.” I could even tell you why you should never trust the judgment of a man who thinks “The Strain” is good television.
But I won’t do that.
I could also spend my time telling you why Villeneuve is the right choice. For many reasons. I could tell you that “Arrival” is secretly the best movie of the last year. I could tell you that watching “Prisoners” will make you feel things you never thought a movie could make you feel. I could point out that you’d actually be doing Sam a favor by picking Villeneuve because his all-time favorite actor Jake Gyllenhaal is in two of his movies.
But I won’t do that either.
For now, I will simply show you a video that is two minutes and 22 seconds long and highlight some of the moments within.
Please begin.
This is the trailer for Villeneuve’s upcoming film, “Blade Runner 2049.” It comes out October 6.
This is Ryan Gosling. He plays Sebastian. Years after the world has fallen into complete disarray due to a nuclear apocalypse, he still likes to visit the piano bar he used to own. He doggedly holds out hope that he will run into his old flame, Mia, again, and that they can rekindle their romance. “Blade Runner 2049” takes place several years after the events of the first movie, but fans hope it will provide all the answers to their burning questions. Will John Legend make an appearance? It’s too soon to say.
The trailer also reveals that “Blade Runner 2049” takes place in the same expanded universe as “The Prestige,” a theory many had been bandying about online for years.
That’s enough about the plot for now, though. I’d like to talk about wonder.
Denis Villeneuve is the kind of director that makes you audibly gasp when you’re watching his movies in the theater. The world his camera captures is more beautiful than the one we actually inhabit. Even when it’s eye is trained on a post-apocalyptic society. Every shot in this trailer is magnificent, and I would like to build a home inside each of them and live out the rest of my days traveling between each one. That’s wonder.
I mean, c’mon.
That feeling you get when Mackenzie Davis struts onto the screen like she owns the god damn world is called joy. One of our best television actors (“Halt and Catch Fire”, “Black Mirror”) is getting her chance to rule the big screen, and she is not taking that lightly.
If you aren’t sold yet, think about this.
Harrison Ford is 75 years old. When he moves around on screen, he looks every bit his age. But when Villeneuve, in his infinite wisdom, saw Harrison Ford on set, he said, “You know what, I know what this movie’s missing. We need a man who looks like he hasn’t run in 25 years to run from a collapsing building or something.”
This moment in the trailer is funny, and if you don’t want to see Harrison Ford trying to run in a movie, I’m not sure what I can do for you.
There are so many questions. Why is Ryan Gosling so angry? Whose blood is that? Is he a robot? Is Harrison Ford a robot? Will any of Guillermo del Toro’s movies be half as good as this single second of the “Blade Runner 2049” trailer? Will that guy from “Suicide Squad” completely ruin the movie? Am I contractually obligated to mention him by name *cough* Jared Leto? Is Tom Hardy in this movie? Is Denis Villeneuve the best filmmaker currently working in Hollywood?
If you want answers, you know what to do.
Vote Villeneuve.
Follow us @fauxworthypod, and check in on Tuesday for the live vote. The winner will be the subject for the podcast series. “Blade Runner 2049” comes out October 6. “The Shape of Water” comes out December 8.
